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and Devotion in Medieval Ireland (with Salvador Ryan and Rachel Moss, Dublin: Four Courts Press, 2006), and, most recently, Soldiers of Christ: The Knights Templar and Knights Hospitaller in Medieval Ireland (with Martin Browne, Dublin: Four Courts Press, 2015). His monograph The Friars in Ireland, 1224–1500 (Dublin: Four Courts Press, 2012) was awarded the 2013 National University of Ireland Prize for Irish Historical Research.

Apart from these book-length publications, Ó Clabaigh has contributed articles, reviews, and editions of documents to numerous Irish and international journals. He has lectured and taught courses for institutions and organizations in Ireland, Great Britain, Italy, and Nigeria and comes to Boston College having completed a semester as visiting professor at the School of Theology, St. John’s University, Collegeville, Minnesota. His current research focuses on popular religion in Medieval Ireland and, while serving as the Burns Visiting Colmán Ó Clabaigh Scholar in Irish Studies, he will teach a course on religion and society in Ireland, c. 1215 to 1526, in the Colmán Ó Clabaigh is a Benedictine monk of Boston College Department of History. Glenstal Abbey, Co. Limerick, and a medievalist specializing in the history of monasticism and religion in Late Medieval Ireland. He was awarded a B.A. in 1989 at NUI Galway, and after undertaking research in Italy, Belgium, and Oxford, received his A Time of Transition ... doctorate in 1998 from the National University of If you would like to continue to receive Ireland. His thesis was published as The Franciscans the newsletter, please ensure that we have in Ireland, 1400–1534: From Reform to Reformation (Dublin: Four Courts Press, 2002). He has co-edited your e-mail address. Please send it to: irish@ the following proceedings of the Glenstal History bc.edu. See “A Time of Transition in Irish Conference: The Irish Benedictines: A History (with Studies” on page 4 for more information. Martin Browne, Dublin: Columba Press, 2005); Art

spring 2016 vol. 19 no. 1 1 Irish Studies Spring 2016 Events

The Center for Irish Programs at Boston College is pleased to offer a variety of events that are free and open to the public:

January 21 | Thursday, 5:00 p.m. Connolly House Professor Mike Cronin, Academic Director, BCI, Sheila Falls Jimmy Noonan Kieran Jordan presents “The Enemy in Dublin, 1916: Who Were February 25 | Thursday, 6:30-7:30 p.m. Mike Cronin the British?” Connolly House BC Students & Teachers in Irish Music and Dance, February 4 | Thursday, 6:30-8:30 p.m. featuring Sheila Falls on fiddle, Jimmy Noonan on Cadigan Alumni Center, Brighton Campus tin whistle & dance performance by Kieran Jordan. Gaelic Roots Concert of Scottish, Québecois & Celtic music. Featuring cellist Natalie Haas with February 27 | Saturday, 2:00 p.m. guitarist/vocalist Yann Falquet. Devlin Hall 101 and McMullen Museum of Art Fintan O’Toole presents “Culture & Society in February 8 | Monday, 7:00-9:00 p.m. Ireland, 1916; Contexts for the Arts & Crafts McMullen Museum of Art, Devlin Hall Movement.” Public Opening; “The Arts and Crafts Movement: Making It Irish.” Exhibition runs February 29 | Monday, 4:30-7:00 p.m. through May 2016. Connolly House Hugh O’Neill at 400 February 9 | Tuesday, 2:00 p.m. Presentations will include: Hiram Morgan (UCC), McMullen Museum of Art, Devlin Hall “Enemy of England: the career of Hugh O’Neill, “The Arts and Crafts Movement: Making It Irish.” Earl of Tyrone (1550–1616),” James O’Neill (UCC), Introduction by Paul Larmour; lecture and gallery “The Nine Years War in Ireland and the Military walk to follow. Revolution”, Ruth Canning (UCC), “The Pale and the political reasons preventing Irish victory in February 10 | Wednesday, 5:00-8:00 p.m. the Nine Years War,” and Malachy O’Neill (Ulster Connolly House University), “Irish language sources for the Nine Waywords and Meansigns Years War and the Flight of the Earls.” Launch of Waywords and Meansigns. Finnegans Wake set to music. Presented by Derek Pyle, David March 2 | Wednesday, 4:30 p.m. Kahne, Brian Hall, Mike Watt, and many more. Burns Scholar Lecture in Burns Library Thompson Room with reception to follow in the February 22 | Burns Library Irish Room Monday, 6:00 p.m. Burns Visiting Scholar Professor Colmán Ó Gasson Hall, Room 100 Clabaigh presents “Fifty Ways to Cleave Your MA Congressman Richard Brother: Mayhem, Mischief & Misfits in Medieval Neal will speak on the Irish Monasteries.” Easter Rising of 1916.

Richard Neal

2 March 9 | Wednesday, 6:00 p.m. April 7 | Thursday, 6:30-8:30 p.m. Boston College-Ireland Cadigan Alumni Center 43 St. Stephen’s Green, Dublin Gaelic Roots Concert of Irish music with Cillian Catalogue launch: “The Arts and Crafts Movement: Vallely & Kevin Crawford of the Irish supergroup Making It Irish,” edited by Vera Kreilkamp. Declan Lúnasa performing on uilleann pipes, low whistles, Kiberd will speak and a reception will follow. and Irish flute.

March 16 | April 9 | Saturday, 9:30 a.m.-4:00 p.m. Wednesday, 7:00 p.m. Connolly House Gasson Hall, Room 100 “James Joyce & the Easter Rising” Author Colm Tóibín will Speakers include: Professor Clair Wills of deliver a Lowell Humanities Princeton University, Professor Joe Valente of Series lecture titled “The University of Buffalo, Professor Mike Cronin Knowledge & the Power: of BC-Ireland, and Professor Richard Kearney of Writing & Violence.” Boston College. Colm Tóibín March 18-20 April 12 | Tuesday, 3:00 p.m. International Conference: “Easter 1916: McMullen Museum of Art & Devlin Hall 101 ‘A Terrible Beauty is Born.’” Gallery walk: The Illustration & Stained Glass of Conference opens at 6:00 p.m. on March 18, Harry Clarke, with lecture by Kelly Sullivan. Devlin Hall, Room 101, followed by a reception; luncheons on Saturday and Sunday in the BC April 16 | Saturday, 9:00 a.m.-5:00 p.m. Faculty Dining Room. Devlin Hall, Room 101; luncheon in BC’s Speakers include: Colm Tóibín, Professor Alvin Faculty Dining Room. Jackson of Edinburgh University, Professor Emily “Faith in the Future: Religion in Ireland in the Bloom of Georgia State University, Dr. Roisín 21st Century,” presented in association with BC’s Higgins of Teeside University, and Professor Keith School of Theology and Ministry and with support Jeffrey of Queen’s University Belfast. from the BC Theology Department, the Boisi Center, and the Church in the 21st Century Center. March 28 | Monday, 6:30-8:45 p.m. Conference speakers include: Dr. Michael Jackson, Gasson Hall, Room 100 Church of Ireland, Archbishop of Dublin, Baroness Easter Rising Commemorative Concert featuring Nuala O’Loan, Maire Collins, Patsy McGarry and Irish music, song, verse & dance. Performers Archbishop Diarmuid Martin of Dublin. will include: Charlie Lennon, Regina Delaney, Seamus Connolly, The Murphy Beds, the Boston April 21 | Thursday, 5:00 p.m. College Chorale, and the Boston College Chamber Connolly House Music Society. Dr. Ronan Fanning, UCD, will present “Eamon de Valera, A Will to Power,” followed by the launch of April 5 | Tuesday, 3:00 p.m. his new book of the same title. Burns Library, O’Brien Fine Print Room Arts & Crafts Panel Discussion moderated by BC’s vice provost for faculties, Patricia DeLeeuw, followed by campus tour.

Please share your e-mail address so we may keep you advised of upcoming news, events, and event details. You may send contact information to: [email protected].

3 of Irish music at Boston College. The University is looked to by people in the profession as an important center for the practice and performance of traditional Irish music, and all this is attributable to Seamus’s A Fond hard work. He retires with our thanks. We trust he will have a restful retirement but we know that we will Farewell to see him from time to time and, indeed, he has already agreed to come back to the campus on Easter Monday Seamus 2016 to take part in the commemorative concert that Connolly will mark the centenary of the Rising of 1916. Once again, we thank Seamus for all that he has done and we look forward to continued cooperation with him in the years ahead. The Irish Studies program is confident that music and dance will continue to be Seamus Connolly, our Sullivan Artist-in-Residence, an important part of what we do in Irish Studies at retired on the 31st of December 2015. Seamus worked at Boston College. Boston College for some 25 years and began teaching Irish music in 1990. The music program was seen as complementing the Irish Studies program by adding Irish music and dance. A Time of Transition in Irish Studies

Seamus began organizing Irish music concerts Readers of this newsletter will have seen that under the title Gaelic Roots. Following his we are in a time of transition with regard to Irish appointment by then-president of Boston College Studies at Boston College. Tom Hachey retired last Father Don Monan, Seamus not only conducted summer and, as noted above, Seamus Connolly, classes on a weekly basis but also put together a BC’s Sullivan Artist-in-Residence, retired at the summer program beginning in 1993. This again was end of December 2015. Seamus’s place, apropos of under the title of Gaelic Roots and, indeed, Gaelic the Gaelic Roots series, will be taken for the pre- Roots became a trademark that is owned by Boston sent by Sheila Falls, who is well known to the Irish College. The Gaelic Roots summer conferences began music community in Boston and who teaches fid- as a weekend event in 1993 and continued from dle at Boston College. 1995 until 2003 as weeklong summer programs. They attracted participants from around the world, We are also beginning to look again at our pro- including musicians and students from Australia and gram, and colleagues have been engaged in a “self- Japan. These events were taped for posterity and are study” of what we teach and our relationships with housed in the Burns Library Irish Music Archives. the Burns Library and Boston College-Ireland, and have examined other aspects of the program. As a result of the events of 9/11, it became We are looking at the things that we do well and at increasingly difficult to organize a Gaelic Roots week- the things we would like to do better. In the spring long program at Boston College, as obtaining visas for of 2016, we will have the help of some outside ex- foreign artists became significantly more demanding. perts who will evaluate the various aspects of our From 2003, therefore, there was a transformation with activities and advise us on how to further develop regard to Gaelic Roots and its events became virtually the program. This is all very exciting. monthly occasions at Boston College. Today, eight Gaelic Roots concerts are performed annually, serving We have also decided that this is probably a good as a tribute to Seamus’s determination and vision. time to transition the format of the newsletter, Over the last number of years in particular, Seamus which is mailed out twice annually. Following this has been greatly assisted by Beth Sweeney, who is the issue, the newsletter will be available in electronic archivist of Irish music in the Burns Library. format. Some copies may be printed for those who do not “do” e-mail and for visitors to BC. If you Seamus has made an enormous contribution to would like to continue to receive the newsletter, Boston College. He has earned an international please ensure that we have your email address. reputation as a performer and his reputation in the Please send your e-mail address to: [email protected]. Irish music community has enhanced the status

4 Recent Faculty Publications: Launch of Waywords Robert Savage, Professor of and Meansigns

the Practice of History Waywords and Meansigns is an international project setting Finnegans Wake to music. Our event will The BBC’s Irish Troubles: Television, see Waywords and Meansigns director Derek Pyle Conflict and Northern Ireland discuss the aim and scope of this unique project. (Manchester University Press, 2015) The exciting undertaking features original music

SAVAGE and readings from Grammy-award-winning producer The BBC’s struggle to David Kahne, author Brian Hall, punk rock icon Mike ROBERT SAVAGE maintain independence THE BBC’S ‘IRISH THE TROU Watt, and many more. Our event at Connolly House,

TELEVISION, CONFLICT AND NORTHERN IRELAND and journalistic credibil- THE BBC’S on February 2 at 5 p.m., will, of course, also feature This book explores how news and information about the confl ict in Northern Ireland was disseminated through the most accessible, powerful and popular form of media: television. It focuses on the BBC ‘IRISH TROUBLES’ ity during the Northern and considers how its broadcasts complicated ‘the Troubles’ by challenging decisions, policies and tactics developed by governments trying to defeat musical performances. Waywords and Meansigns, a stubborn insurgency that threatened national security. TELEVISION, CONFLICT AND NORTHERN IRELAND For over thirty years, the BBC chronicled the violence and turmoil in Ireland “Troubles” is the Northern Ireland, becoming an integral part of the long and harrowing confl ict. By exploring the incessant wrangling between political elites, civil servants, military offi cials, broadcasting authorities and journalists a digital humanities project, can be freely accessed about what should and should not be featured on the BBC’s regional and national networks, Britain’s public service provider became part of the story. subject of a new book by The book uses a wide array of highly original sources to consider how the anxiety and controversy created by these political skirmishes often online at waywordsandmeansigns.com. challenged the ability of the medium to accurately inform citizens of important events taking place within the United Kingdom, thereby Robert Savage. The book undermining the BBC’s role as a public service provider. Using recently released archival material from the BBC and a variety of government archives the book shows how, in spite of the infamous broadcasting restrictions put in place in 1988, professional staff remained determined to provide the public with informed news and information about the BLES’ explores how news and confl ict, and resisted government efforts to silence voices that, although unpalatable, were critical to comprehending and eventually resolving a long and bloody confl ict. Robert J. Savage is Associate Professor of the Practice of History at Boston College information about the Cover images: (front) Controller Richard Francis emerging from Broadcasting House Belfast after an IRA bombing; (back) IRA ‘volunteer’ searching BBC cameraman Cyril Cave while sound recordist Jim Deeney looks on (© BBC Northern Ireland Community Archive) conflict in Northern Ire- land was disseminated The John J. Burns www.manchesteruniversitypress.co.uk through the most acces- Library of Rare Books sible, powerful, and popular form of media: television. The BBC’s Irish Troubles: Television, Conflict and and Special Collections Northern Ireland considers how BBC broadcasts complicated the conflict by challenging decisions, poli- Exhibitions and Acquisitions cies, and tactics developed by governments trying to defeat a stubborn insurgency that threatened national In conjunction with the McMullen Museum’s “The security. The book explores the incessant wrangling Arts and Crafts Movement: Making It Irish” spring between political elites, civil servants, military offi- exhibition, the Burns Library will present “Recreating cials, broadcasting authorities, and journalists about Identity: The Arts and Crafts Movement in Ireland”—a what should and should not be featured on the BBC’s complementary exhibit that will explore the social, regional and national networks. In many cases the political, and economic contexts that shaped the anxiety and controversy created by these political development of the movement in Ireland. It will be skirmishes challenged the ability of the medium to on display from February 1 through June 12, 2016. accurately inform citizens of important events taking place within the United Kingdom, thereby un- The Arts and Crafts Movement that first emerged in dermining the BBC’s role as a public service. As vio- England in the 1880s took on a distinctive character lence continued, the BBC was attacked, threatened, in Ireland, where its aesthetic and social ideals and bullied by a variety of actors but did its best to coalesced around the drive to forge a new national stand its ground and maintain editorial independence identity. Through association with William Morris and journalistic credibility. In spite of the infamous and his daughter May, the Yeats family participated broadcasting restrictions put in place in 1988, profes- in the movement in England and then as it evolved in sional staff remained determined to provide the pub- Ireland. Taking inspiration from Morris’s Kelmscott lic with informed news and information about the Press, the Yeats sisters were founders of the Dun conflict. Broadcasters resisted government efforts to Emer and later Cuala Press, both of which produced silence voices that, although controversial, were criti- finely printed hand-bound books. Cuala Industries, cal to comprehending and eventually resolving a long the umbrella organization, also produced textiles and and bloody conflict. The book has received enthusi- paintings. Other craft and industrial societies were astic reviews from a variety of sources in Ireland and established in Ireland under the movement’s aegis to the UK including The Irish Times, The Guardian, The promote needlework and lace making, metalwork and Belfast Telegraph, The Irish Independent, and The Dub- stained glass, and other applied arts. lin Review of Books.

5 1931, shortly after her declining health precipitated the closing of the embroidery branch of Cuala Industries that she had founded some 20 years before.

Saint Larflaith (1904) Kieran Jordan Sodality Banner, designed by Jack Yeats, executed by Our Irish dance teacher, Kieran Jordan, was Dun Emer Industries, for presented with the prestigious Silver Key Award by St. Brendan’s Cathedral, the Charitable Irish Society of Boston on Wednesday, Loughrea, County Galway. October 14, 2015. The award was given in recognition of Kieran’s role as a “dynamic performer, teacher, director, choreographer, and writer in the field of Irish dance.” Her husband, Vincent Crotty, was also presented with the award in recognition of his “Recreating Identity” will feature examples of contribution to Irish visual art. books, textiles, leatherworks, and ceramics produced by a variety of artisans, situating them in relation to Kieran is an alum of BC and, in addition to her the refounding of the Royal Irish School of Art Nee- major, graduated with a minor in Irish Studies. dlework, the establishment of the Arts and Crafts So- Heartiest congratulations to Kieran and with thanks ciety of Ireland and its series of craft exhibitions in for all she does for BC. Dublin, the activities of the Irish Decorative Art Asso- ciation in Belfast, and the broader Celtic Revival. The exhibit will draw extensively upon the Burns Library archives of the Cuala Press and designer Eva McK- Gaelic Roots Recordings in ee, with supplemental loans from private collectors. the John J. Burns Library’s In turn, the Burns Library will be lending a number of books and artworks from its collections to the Mc- Irish Music Archives Mullen Museum exhibition, including several recent acquistions. Within the Irish Music Archives of the John J. Burns Library, one can explore over 25 years of archival The establishment of a national system of public recordings of Boston College festivals, concerts, and schools in Ireland in 1831 provided girls as well as boys lectures from 1990 onward. Visitors are welcome with access to formal education. The curriculum for to view and listen to these recordings in the Burns young women included instruction in various practical Library’s reading room, and selected clips are made arts, including needlework. The Commissioners of available on the library’s YouTube channel as well. National Education accordingly published manuals What follows is a brief overview of the archives and to guide students in the progressive development its collections. of these skills. The manuals included detailed directions, templates, and a page to which specimens The Irish Music Archives was established at Boston of executed patterns could be affixed. Earlier this year, College in 1990 by Dr. Mícheál Ó Súilleabháin in the Burns Library was able to acquire a copy of such conjunction with the John J. Burns Library and the a manual from 1861 with original specimens intact— Music Department. Its earliest acquisitions include an extremely rare survival from the period. master recordings from the 1990 Boston College Irish Fiddle Festival. The archives also holds master The McMullen exhibit will also display a large recordings from the 1992 Celtic Harp Festival; embroidery panel woven by Susan Mary (“Lily”) Yeats, recordings of the Gaelic Roots festivals (1993–2003); the elder sister of W.B. Yeats, that we acquired earlier and recordings of the Gaelic Roots Music, Song, this year. The pattern, designed by Brigid O’Brien, Dance, Workshop, and Lecture Series (2003–present). depicts the closing lines of Yeats’s poem “The Players Ask for a Blessing on the Psalteries and Themselves”: The Boston College Irish Fiddle Festival, featuring “The proud and careless notes live on / But bless our 16 fiddle players living in the United States, was the hands that ebb away”—a poignant selection, as it was basis of a published CD, My Love is in America: The likely one of Lily’s last creations, produced around Boston College Irish Fiddle Festival. The CD was issued

6 by Green Linnet Records in 1991 and was recognized colony to independent nation. As its centerpiece, The by the American Folklife Center of the Library of Arts and Craft Movement: Making It Irish, curated by Congress. A few years later, Boston College’s first Vera Kreilkamp and Diana Larsen, introduces dazzling two Gaelic Roots festivals (1993 and 1995) provided early medieval-influenced metalwork, embroidered a wonderful variety of music for a double CD, Boston hangings and vestments, altar cards, and leatherwork College Irish Studies Program Celebrates Gaelic Roots. from University College Cork’s Honan Chapel. The collection of this ideologically charged masterpiece of Today, staff from the Irish Music Archives record Arts and Crafts achievement, consecrated in 1916, has the Boston College Gaelic Roots Series events on audio never before travelled beyond Cork. and video. The recordings are then made available for listening and viewing at the Burns Library. These The exhibition also features Wilhelmina Geddes and recordings are an important resource for the study Harry Clarke’s prizewinning stained glass panels that of Irish traditional music as well as for the study of evoke a Celtic and early Christian past—but gesture related music and dance traditions in North America. toward the innovative Modernism characterizing the They also document the Irish Studies program’s many Literary Revival. Three Arts and Crafts windows in and varied music offerings over the years. Selected the University’s Bapst Library, commissioned in the clips from the recordings are made available on the 1950s from Harry Clarke’s colleague Richard King, Burns Library Irish Music Center YouTube channel: constitute an epilogue for the exhibition, suggesting https://www.youtube.com/user/BurnsLibraryIMC. A why Boston College’s campus provides a fitting setting listing of available recordings is updated regularly at for it. Other objects on display at the museum were http://libguides.bc.edu/irishmusic/archives. made for domestic use and decoration, music making, or personal adornment: handcrafted wood furniture The Irish Music Archives also includes manuscript and metalwork, carpets and wall hangings, a harp, collections. A few examples are the Mary O’Hara a lace dress, and jewelry replicating early medieval Papers, the Frederick M. Manning Collection of metalwork. These illustrate both the widespread John McCormack, the Séamus Connolly Papers, and popular dissemination of Revivalist motifs and the the Michael Cummings Collection of P.S. Gilmore philanthropic promotion of handicraft industries that Materials. Musical instruments include two Egan initiated Arts and Crafts practice in Ireland. The early harps from the early nineteenth century; these are twentieth-century first Irish women’s collective Dun on view in the Burns Library’s Irish Room alongside Emer made strikingly “primitive” Modernist solidarity Mary O’Hara’s first professional harp. The archives banners of early Irish saints, which the curators have also has many published materials in a wide variety borrowed from the Arts and Crafts collection of Saint of formats. Brendan’s Cathedral in Loughrea, County Galway.

The Burns Library is open to the public for research; please feel free to e-mail us at [email protected] or telephone 617–552–4861 to find out more. We welcome your questions and look forward to hearing from you.

The Arts and Crafts Movement: Making It Irish

From February 6 to June 5, 2016, during a year of commemoration of the 1916 Easter Rising across Ireland and on this campus, the McMullen Museum of Art offers the first comprehensive examination of the Irish Art and Crafts movement. Like the more familiar Irish Literary Revival of the same era, Arts Éire Page, Harry Clarke’s illustrations for and Crafts practice accompanied and shaped the visual Ireland’s Memorial Records 1914–1918 (1923) imagination of the country’s transformation from

7 center for irish programs Non-Profit Org. irish studies U.S. Postage Connolly House PAID Chestnut Hill, MA 02467–3808 Boston, MA Permit No. 55294

Also included is handcrafted Revivalist book art: a of Ireland in Dublin; the Crawford Art Gallery and War of Independence republican prisoner’s journal the Honan Chapel in Cork; St. Brendan’s Cathedral hand-inked with Revivalist motifs as well as an in Loughrea, County Galway; the Ulster Museum elaborate commemorative volume of illumination in Belfast; as well as private collectors in Ireland, embellished with related imagery, but now honoring Northern Ireland, and the United States. Ulster’s unionist leader Edward Carson. Especially moving are Harry Clarke’s modern-medieval The accompanying catalogue, edited by Vera illustrations for the eight volumes of Ireland’s Kreilkamp, contains essays by Nicola Gordon Bowe, Memorial Records, listing the names of Ireland’s Marjorie Howes, Andrew Kuhn, Janice Helland, soon-to-be-forgotten 49,435 First World War dead— Marguerite Helmers and Kayla Rose, Paul Larmour, unionist and nationalist, Protestant and Catholic, Diana Larsen, Nancy Netzer, Tomás Ó Carragáin, from the north and south. Fintan O’Toole, Kelly Sullivan, and Virginia Teehan. A digital guide to the exhibition has been provided Lenders include the Abbey Theatre, the National by the students in Professor Joe Nugent’s digital Museum of Ireland, the Royal Irish Academy, the humanities course. Declan Kiberd will launch the Royal College of Physicians of Ireland, the National catalogue in Dublin on March 9, 2016, at Boston College of Art and Design, and the National Library College-Ireland on St. Stephen’s Green.

boston college center for irish programs The Boston College Center for Irish Programs is headquartered in Connolly House on the University’s Chestnut Hill Campus. The Center includes BC’s Irish Studies Program, Boston College-Ireland on St. Stephen’s Green in Dublin, and the Burns Library’s Irish Collections.

For more information, please contact: Irish Studies at Boston College, Connolly House, 300 Hammond Street, Chestnut Hill, MA 02467, 617–552–6396, or e-mail [email protected]. See our Web site at www.bc.edu/irish.